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Iges (Lebrancon), José
(b Madrid, 31 May 1951). Spanish composer. He graduated as an industrial engineer (1982) and obtained a PhD for his thesis Arte radiofonico at the Universidad Complutense, Madrid (1997). Musically he is in part self-taught, but also studied at the Laboratorio Alea in Madrid with Jesús Ocaña, at the University of Pau (France) with David Johnson (1977) and at the Madrid Conservatory with Pablo (1977–8). He has belonged to various groups and collectives, including the Seminario de Arte e Informática and Elenfante, and he has worked with the Laboratorio de Interpretación Musical. Since 1985 he has directed the programme ‘Ars Sonora’ on the music programme of Spanish National Radio.
As a composer Iges has focussed primarily on electronic and electro-acoustic music and on multimedia, and he has written 40 pieces for radio. Since 1984 he has also collaborated with the singer Esperanza Abad, for whom he wrote works such as Ritual (1986) and Despedida que no despide (1990). The performance artist Concha Jerez also collaborated on the latter and on several pieces written since 1990. Iges is also the author of several articles and of a monograph on Nono (Madrid, 1988).
WORKS -
El-ac and tape: Ritual, Mez, tape, live elecs, 1986; Tempus-tempi (para la galería), tape, 1986 [collab. F. Felipe]; Homenajes en 4'33'', tape, 1988; Tejido en el aire, whistler, tape, live elecs, 1988; Modos de contar, tape, 1989; Punto singular, 5 synchronized tapes, 1989; Río/oír, tape, 1989; Autoritratto, tape/spkr, live elecs, 1990; Como una raya en el agua, pf, tape, 1990; Despedida que no despide, Mez, live elecs, 4 synchronized tapes, 1990 [collab. E. Abad and C. Jerez]; Labirinto de linguaggi (radio perf.), 3 spkr, pfmr, 2 synchronized tapes, 1990 [collab. C. Jerez]; Desmemoria, Mez, actor, chorus 6vv, 2 tapes, 1990; Ludus ecuatorialis (radio perf.), tape, short-wave radio, 1990 [R. Bellés]; Lito-grafía, tape, 1990; Argot (radio perf.), 2 synchronized tapes, 20 cassettes, 20 radio receivers, 10 microphones, FM transmitter, 1991; Labyrinthe de langages (radio perf.), 3 spkr, pfmr, 10 microphones, 2 synchronized tapes, 1991; El diario de Jonás, 1v, perc, live elecs, pfmr, 4 sound sources, 1997 [collab. C. Jerez];
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Seven Minutes Desert, Mez, tape, 1991; Force in, tape, 1992 [collab. C. Jerez]; Spoken Madrid, tape, 1992 [collab. C. Jerez]; Bazaar of Broken Utopias (radio perf.), pfmr, sound effects, tape, 1993; Kielten labirintii (radio perf.), spkr, pfmr, tape, 1993 [collab. C. Jerez]; La ciudad de agua, tape, 1994 [collab. C. Jerez]; Esercizi sulla fragilità, perc, tape, 1994; Acción-Reacción, 2 accdn, tape, 1995; Music Minus One I: Concierto barrocco, (descant rec + treble rec)/fl, tape, 1995; Nick en La Habana, 2 pfmrs, tape, 1995 [collab. C. Jerez]; Préstame 88, pf, 2 pfmrs, tape, 1995–6 [collab. C. Jerez]; El silbido del Caballo de Hierro atravesando el umbra del Paraíso, tape, 1995–6 [collab. C. Jerez]; La Isla de las Mujeres, Mez, tape, 1996; Music Minus One II: Alegrías, trbn, tape, 1996; Music Minus One III: Hommage to Falla, tape, 1996 [collab. R. Bellés]; El diario de Jonás, 1v, perc, live elecs, pfmr, 4 sound sources, 1997 [collab. C. Jerez]; Polyphemus' Eye, 2 tapes, 1997 [collab. C. Jerez]; Radio 2, tape, 1997; Tagebuch/Diario (radio perf.), tape, 1998; La ciudad resonante, live elecs, theremin, octapad, 3 CDs, 1998–9
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Acoustic: Una cierta melodía, fl, cl, vc, perc, 1979; Reunión, fl, ob, cl, tpt, bn, 1980; Geometrías, ob, cl, tpt, pf, 1981; Gestos, chbr ens, 1982; Tres, gui, 1982; Los nombres del amor, pf, 1984–5; De cómo tomar un agua cualquiera y darle forma de cubo, chorus, 1987; Cosa de dos, pf 4 hands, 1988; Extraños compañeros de juegos, gui, accdn, 1997
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Principal recording companies: ACA, Circulo de Bellas Artes, RTVE Música
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T. Marco: Historia de la música española, ed. P. López de Osaba, vi: Siglo XX (Madrid, 1983; Eng. trans. as Spanish Music in the Twentieth Century, 1993)
A. Reverter: ‘José Iges’, Concierto monográfico encontre de compositors (Palma de Mallorca, 1988)
G. García-Alcalde: ‘La prueba de eternida’, Despedida que no despide: Requiem escénico a la memoria de Agustín Millares, de José Iges y Concha Jerez (Las Palmas, 1990)
F. Castro, H. Grundmann and L. Siemens: Exposición José Iges y Concha Jerez: ‘La mirada del testigo’/‘El acecho del guardián’ (Vitoria, 1998)
MARTA CURESES
Iggy Pop [Osterberg, James Newell]
(b 21 April 1947). American punk, rock and pop vocalist. He played the drums in blues bands (gaining his nickname in an act called The Iguanas) before forming the Psychedelic Stooges in 1967 with the brothers Ron Asheton (guitar) and Scott Asheton (drums), along with the bass player Dave Alexander, changing the band's name to the Stooges in 1969. He became known as an intense and transgressive performer who sometimes went so far as to roll in broken glass or otherwise wound himself. With albums such as Raw Power (Col., 1973), he made some of the harshest music heard during the late 1960s and early 70s, for which he is sometimes called the father of punk rock. In contrast to the peace-and-love messages of much psychedelic rock, his lyrics were bleak and perverse in their challenge to the status quo, and his music was unapologetically raucous and amateurish. The Stooges broke up in 1974 and Pop released a series of solo albums beginning in 1976, often working in collaboration with David Bowie. Pop's later work, such as Blah-Blah-Blah (A&M, 1986), was less noisy and closer to mainstream pop in its tone and techniques. (I. Pop: I Need More, Los Angeles, 1982)
ROBERT WALSER
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